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This series provides a multidisciplinary framework for scholarly approaches to video games in the humanities. It focuses especially on the dialectics of methodology and object: how do different scholarly fields apply their theories and methods to video games, and how do video games in turn affect these theories and methods? This series seeks to reconnect media-centric Game Studies to the disciplines it had to distance itself from in its foundation, such as literary studies or film studies, in an attempt to use their differences and contact zones in a mutually productive dialogue. It also seeks to present innovative approaches in other fields in the humanities that have yet to consider video games in a systematic way, and give a home to ground-breaking publications that push the boundaries of existing discourses and debates. In this endeavor, the series is committed to a decidedly global scope as it assembles perspectives from different cultural and academic contexts. In short, this series wants to see what the humanities do with video games and what video games do to the humanities. Proposals can be send to: [email protected] Advisory Board: Alenda Y. Chang, UC Santa Barbara Katherine J Lewis, University of Huddersfield Dietmar Meinel, University of Duisburg-Essen Ana Milosevic, KU Leuven Soraya Murray, UC Santa Cruz Holly Nielsen, University of London Michael Nitsche, Georgia Tech Martin Picard, Leipzig University Melanie Swalwell, Swinburne University Emma Vossen, University of Waterloo Mark J.P. Wolf, Concordia University Esther Wright, Cardiff University
This volume focuses on the depiction of women in video games set in historical periods or archaeological contexts, explores the tension between historical and archaeological accuracy and authenticity, examines portrayals of women in historical periods or archaeological contexts, portrayals of female historians and archaeologists, and portrayals of women in fantastical historical and archaeological contexts. It includes both triple A and independent video games, incorporating genres such as turn-based strategy, action-adventure, survival horror, and a variety of different types of role-playing games. Its chronological and geographical scope ranges from late third century BCE China, to mid first century BCE Egypt, to Pictish and Viking Europe, to Medieval Germany, to twentieth century Taiwan, and into the contemporary world, but it also ventures beyond our universe and into the fantasy realm of Hyrule and the science fiction solar system of the Nebula.
Despite the prevalence of video games set in or inspired by classical antiquity, the medium has to date remained markedly understudied in the disciplines of classics and ancient history, with the role of women in these video games especially neglected. Women in Classical Video Games seeks to address this imbalance as the first book-length work of scholarship to examine the depiction of women in video games set in classical antiquity. The volume surveys the history of women in these games and the range of figures presented from the 1980s to the present, alongside discussion of issues such as historical accuracy, authenticity, gender, sexuality, monstrosity, hegemony, race and ethnicity, and the use of tropes. A wide range of games of different types and modes are discussed, including platformers, strategy games , roguelikes, MOBA, action RPGs, and story-driven romance mobile games. The detailed case studies presented here form a compelling case for the indispensability of the medium to both reception studies and gender studies, and offer nuanced answers to such questions as how and why women are portrayed in the ways that they are.
Despite the prevalence of video games set in or inspired by classical antiquity, the medium has to date remained markedly understudied in the disciplines of classics and ancient history, with the role of women in these video games especially neglected. Women in Classical Video Games seeks to address this imbalance as the first book-length work of scholarship to examine the depiction of women in video games set in classical antiquity. The volume surveys the history of women in these games and the range of figures presented from the 1980s to the modern day, alongside discussion of issues such as historical accuracy, authenticity, gender, sexuality, monstrosity, hegemony, race and ethnicity, and the use of tropes. A wide range of games of different types and modes are discussed, with particular attention paid to the Assassin's Creed franchise's 21st-century ventures into classical antiquity (first in Origins (2017), set in Hellenistic Egypt, and then in Odyssey (2018), set in classical Greece), which have caught the imagination not only of gamers, but also of academics, especially in relation to their accompanying educational Discovery Modes. The detailed case studies presented here form a compelling case for the indispensability of the medium to both reception studies and gender studies, and offer nuanced answers to such questions as how and why women are portrayed in the ways that they are.
The fourteen essays in this collection explore the place of women in archaeology in the twentieth century, arguing that they have largely been excluded from "an essentially all-male establishment."
The Routledge Handbook of Archaeology and the Media in the 21st Century presents diverse international perspectives on what it means to be an archaeologist and to conduct archaeological research in the age of digital and mobile media. This volume analyses the present‐day use of new and old media by professional and academic archaeology for leisure, academic study and/or public engagement, and attempts to provide a broad survey of the use of media in a wider global archaeological context. It features work on traditional paper media, radio, podcasting, film, television, contemporary art, photography, video games, mobile technology, 3D image capture, digitization and social media. Themes explored include archaeology and traditional media, archaeology in a digital age, archaeology in a post‐truth era and the future of archaeology. Such comprehensive coverage has not been seen before, and the focus on 21st‐century concerns and media consumption practices provides an innovative and original approach. The Routledge Handbook of Archaeology and the Media in the 21st Century updates the interdisciplinary field of media studies in archaeology and will appeal to students and researchers in multiple fields including contemporary, public, digital, and media archaeology, and heritage studies and management. Television and film producers, writers and presenters of cultural heritage will also benefit from the many entanglements shared here between archaeology and the contemporary media landscape.
Offers the most comprehensive analysis and discussion of medievalist computer games to date. Games with a medieval setting are commercially lucrative and reach a truly massive audience. Moreover, they can engage their players in a manner that is not only different, but in certain aspects, more profound than traditional literary or cinematic forms of medievalism. However, although it is important to understand the versions of the Middle Ages presented by these games, how players engage with these medievalist worlds, and why particular representational trends emerge in this most modern medium, there has hitherto been little scholarship devoted to them. This book explores the distinct nature of medievalism in digital games across a range of themes, from the portrayal of grotesque yet romantic conflict to conflicting depictions of the Church and religion. It likewise considers the distinctions between medievalist games and those of other periods, underlining their emphasis on fantasy, roleplay and hardcore elements, and their consequences for depictions of morality, race, gender and sexuality. Ultimately the book argues that while medievalist games are thoroughly influenced by medievalist and ludic tropes, they are nonetheless representative of a distinct new form of medievalism. It engages with the vast literature surrounding historical game studies, game design, and medievalism, and considers hundreds of games from across genres, from Assassin's Creed and Baldur's Gate to Crusader Kings and The Witcher series. In doing so, it provides a vital illustration of the state of the field and a cornerstone for future research and teaching.
This is the first book to deal exclusively with ludic interactions with classical antiquity – an understudied research area within classical reception studies – that can shed light on current processes of construction and appropriation of the Greco-Roman world. Classical antiquity has, for many years, been sold as a product and consumed in a wide variety of forms of entertainment. As a result, games, playing and playful experiences are a privileged space for the reception of antiquity. Through the medium of games, players, performers and audiences are put into direct contact with the classical past, and encouraged to experience it in a participative, creative and subjective fashion. The chapters in this volume, written by scholars and practitioners, cover a variety of topics and cultural artefacts including toys, board games and video games, as well as immersive experiences such as museums, theme parks and toga parties. The contributors tackle contemporary ludic practices and several papers establish a dialogue between artists and scholars, contrasting and harmonising their different approaches to the role of playfulness. Other chapters explore the educational potential of these manifestations, or their mediating role in shaping our conceptions of ancient Greece and Rome. Altogether, this edited collection is the first to offer a comprehensive overview of the ways we can play with antiquity.
From gaming consoles to smartphones, video games are everywhere today, including those set in historical times and particularly in the ancient world. This volume explores the varied depictions of the ancient world in video games and demonstrates the potential challenges of games for scholars as well as the applications of game engines for educational and academic purposes. With successful series such as “Assassin's Creed” or "Civilization” selling millions of copies, video games rival even television and cinema in their role in shaping younger audiences' perceptions of the past. Yet classical scholarship, though embracing other popular media as areas of research, has so far largely ignored video games as a vehicle of classical reception. This collection of essays fills this gap with a dedicated study of receptions, remediations and representations of Classical Antiquity across all electronic gaming platforms and genres. It presents cutting-edge research in classics and classical receptions, game studies and archaeogaming, adopting different perspectives and combining papers from scholars, gamers, game developers and historical consultants. In doing so, it delivers the first state-of-the-art account of both the wide array of 'ancient' video games, as well as the challenges and rewards of this new and exciting field.